My aim is to offer insights into some of the more subtle principles underpinning prints. The commentary is based on thirty-eight years of teaching and the prints and other collectables that I am focusing on are those which I have acquired over the years.
In the galleries of prints (accessed by clicking the links immediately below) I am also adding fresh images offered for sale. If you get lost in the maze of links, simply click the "home" button to return to the blog discussions.

State iii (of iii?) with the addition of the address of Giovanni
Jacopo Rossi as the publisher.

Note: based on the BM’s bibliographical details for the publisher,
Giovanni Jacopo Rossi, his address after c1680 was “Rome, alla Pace all'insegna
di Parigi” which is the same address inscribed (in part) on this print: “alla
Pace”. This means that the publication date for this impression was between
c1680 and his death in 1691.

Condition: very crisp, richly inked and well-printed impression
with margins (varying but approximately 2 cm wide). The sheet has been laid
upon an archival support sheet and there is an area of restored abrasion,
otherwise the print is in excellent condition (i.e. there are no tears, holes, folds, significant stains or foxing).

I am selling this engraving of the utmost rarity by the 16th
century printmaker whose work is signed with a symbol of a dice—hence the
artist’s descriptive title, “Master of the Die”—for AU$388 (currently US$310.13/EUR253.28/GBP223.58
at the time of posting this listing) including postage and handling to anywhere
in the world.

If you are interested in purchasing this superb print from the
Renaissance era exemplifying the interest at the time for classical mythology, please
contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal
invoice to make the payment easy.

This print has been sold

For those unfamiliar with the mythological story that this scene
illustrates, I need to offer a quick word of warning: this is a gruesome tale.
Let me begin…

The chap tied to the tree on the left is Marsyas who was so full
of pride with his musical ability that he unwisely challenged the god, Apollo,
shown holding a lute to the right of centre, to a music competition judged by
the Muses—goddesses responsible for artistic inspiration. Being confident with
his ability to win, Marsyas agreed to the terms of the competition that the
winner could do what they wished to the loser. Needless to say, Apollo won and
chose to have Marsyas flayed as his prize. Hence this scene portrays Apollo
giving instructions to have Marsyas skinned alive.

Moving beyond this hideous story, I thought I might draw attention
to a few important details that might not be noticed in a casual glance.

Note how the artist has shaded the background immediately behind
the architectural feature at the centre of the composition: on the lit side of
this structure, the background is darkened; on the shadow side of the
structure, the background is lightened. This simple but useful visual device was later used extensively by Georges Seurat.

Note the treatment of the tree limb immediately above the tied
hands of Marsyas and how the artist has changed the angle of the curved contour
lines so that some of the limbs project forward while others lean back.

As a final feature to examine, note the very odd form of the vegetation
lump shown forward of where Apollo is seated. To my eyes this lump—I am really
not certain about its constituent parts—is almost like the form of a snail with
contoured strokes giving the impression of animation. Very strange!